Back-alley abortions. The pervasive belief that rape was a woman's fault. These were the shocking conditions that stirred students, mothers, businesswomen, and grandmothers to activism in the latter half of the twentieth century. In this stirring memoir, Susan Brownmiller, feminist activist and author of the landmark work on rape, Against Our Will, draws upon her four decades on the front lines of the women's movement to chronicle the startling inequities, groundbreaking campaigns, and colorful cast of characters that ignited one of the most transformational movements in American history.In Our Time takes us behind the scenes to meet the passionate and provocative "foremothers" who steered the rising tide of feminism in America: Germaine Greer. Kate Millett. Betty Friedan. Gloria Steinem. Rita Mae Brown. And it reveals the real stories behind the headlines that heralded womankind's quest for freedom. The Miss America protest of 1968. The sit-in at the Ladies' Home Journal. Karla Jay's table-turning Wall Steer "Ogle-In." Lucy Komisar's "This Ad Insults Women" sticker campaign. The conception and creation of Ms. magazine. And every skirmish, standoff, and highlight of the thirty-year struggle for equality--as told by a woman who was at the center of the action.

    '75; Beyond God the Father, '73) has written "an extremist book...on the edge of a culture that is killing itself." Conceived as a radical feminist "Voyage" of woman becoming herself, it's made up of three "Passages." The 1st denounces the reversals & deceptions ("mind pollution") of patriarchal disciplines (including "Godfather" theology) & exuberantly sets out to "discover" the true "Croneology" behind that male mystification. The 2nd, "the most somber part of the Journey," analyzes Goddess-murder (and the murder of the Goddess in every woman) thru the "Sado-Rituals" of five specific historic atrocities: Indian suttee, Chinese footbinding, African genital mutilation, European witchburning, & American gynecology & psychotherapy (gynecology of the mind practiced by the-rapists). Following this "exorcism," the Voyager moves in the 3rd Passage to the Otherworld of lesbian-feminist Spinsters who successfully scorn patriarchal intimidation ("Spooking"), stir "the fire of female friendship" ("Sparking"), &--after a rip-roaring "Unraveling" gotterdammerung--joyously spin on as Revolting Hags. En route Daly purposefully busts out of some traditional (male) forms & language. Altho the word-work of the "living/verbing writer" sometimes gets in the way/weigh of flashing in-sights, a painstaking indictment of scholarly "erasure" of historic events & some bone-chilling facts of women's story, Daly's excursion is bound to inspire Spinsters/Spider Women everywhere & to leave just about everyone else haggard & in-fury-ated.--Kirkus (edited)

    Continuing the debates surrounding her controversial first book, Ain't I A Woman, bell hooks suggests that feminists have not succeeded in creating a mass movement against sexist oppression because the very foundation of women's liberation has, until now, not accounted for the complexity and diversity of female experience. In order to fulfill its revolutionary potential, feminist theory must begin by consciously transforming its own definition to encompass the lives and ideas of women on the margin. Hooks' work is a challenge to the women's movement and will have profound impact on all whose lives have been touched by feminism and its insights.

    Starting from Plato’s fateful division of the world into spirit and matter, her analysis of how patriarchal Western philosophy and religion have used language and science to bolster their power over both women and nature is brilliant and persuasive, coming alive in poetic prose.Griffin draws on an astonishing range of sources—from timbering manuals to medical texts to Scripture and classical literature—in showing how destructive has been the impulse to disembody the human soul, and how the long separated might once more be rejoined. Poet Adrienne Rich calls Woman and Nature “perhaps the most extraordinary nonfiction work to have merged from the matrix of contemporary female consciousness—a fusion of patriarchal science, ecology, female history and feminism, written by a poet who has created a new form for her vision. ...The book has the impact of a great film or a fresco; yet it is intimately personal, touching to the quick of woman’s experience.”

    With Backlash in 1991, Susan Faludi broke new ground when she put her finger directly on the problem bedeviling women, and the light of recognition dawned on millions of her readers: what's making women miserable isn't something they're doing to themselves in the name of independence. It's something our society is doing to women. The book was nothing less than a landmark.Now in Stiffed, the author turns her attention to the masculinity crisis plaguing our culture at the end of the '90s, an era of massive layoffs, "Angry White Male" politics, and Million Man marches. As much as the culture wants to proclaim that men are made miserable—or brutal or violent or irresponsible—by their inner nature and their hormones, Faludi finds that even in the world they supposedly own and run, men are at the mercy of cultural forces that disfigure their lives and destroy their chance at happiness. As traditional masculinity continues to collapse, the once-valued male attributes of craft, loyalty, and social utility are no longer honored, much less rewarded.Faludi's journey through the modern masculine landscape takes her into the lives of individual men whose accounts reveal the heart of the male dilemma. Stiffed brings us into the world of industrial workers, sports fans, combat veterans, evangelical husbands, militiamen, astronauts, and troubled "bad" boys—whose sense that they've lost their skills, jobs, civic roles, wives, teams, and a secure future is only one symptom of a larger and historic betrayal.

    While consumerism did not make women into radicals, it helped shape their culture and their identities as both workers and political actors.

    I found A Crooked Line engrossing, insightful, and inspiring."--Lizabeth Cohen, author of A Consumers' Republic"A Crooked Line brilliantly captures the most significant shifts in the landscape of historical scholarship that have occurred in the last four decades. Part personal history, part insightful analysis of key methodological and theoretical historiographical tendencies since the late 1960s, always thoughtful and provocative, Eley's book shows us why history matters to him and why it should also matter to us."--Robert Moeller, University of California, Irvine"Part genealogy, part diagnosis, part memoir, Eley's account of the histories of social and cultural history is a tour de force."--Antoinette Burton, Professor of History and Catherine C. and Bruce A. Bastian Professor of Global and Transnational Studies, University of Illinois"Eley's reflections on the changing landscape of academic history in the last forty years will interest and benefit all students of the discipline. Both a native informant and an analyst in this account, Eley combines the two roles superbly to produce one of most engaging and compelling narratives of the recent history of History."--Dipesh Chakrabarty, author of Provincializing EuropeUsing his own intellectual biography as a narrative device, Geoff Eley tracks the evolution of historical understanding in our time from social history through the so-called "cultural turn," and back again to a broad history of society.A gifted writer, Eley carefully winnows unique experiences from the universal, and uses the interplay of the two to draw the reader toward an organic understanding of how historical thinking (particularly the work of European historians) has evolved under the influence of new ideas. His work situates history within History, and offers students, scholars, and general readers alike a richly detailed, readable guide to the enduring value of historical ideas.Geoff Eley is Professor of History at the University of Michigan.

    First published in 1948, its elegance, passion, and iconoclastic erudition laid the groundwork for a totally new understanding of the American past. By writing a "kind of intellectual history of the assumptions behind American politics," Richard Hofstadter changed the way Americans understand the relationship between power and ideas in their national experience. Like only a handful of American historians before him—Frederick Jackson Turner and Charles A. Beard are examples—Hofstadter was able to articulate, in a single work, a historical vision that inspired and shaped an entire generation.

     This long-awaited new edition reinstates significant portions of the original French text that were cut in the first English translation. Vital and groundbreaking, Beauvoir’s pioneering and impressive text remains as pertinent today as it was back then, and will continue to provoke and inspire generations of men and women to come.

    Writing in a lyrical mixture of Spanish and English that is her unique heritage, she meditates on the condition of Chicanos in Anglo culture, women in Hispanic culture, and lesbians in the straight world. Her essays and poems range over broad territory, moving from the plight of undocumented migrant workers to memories of her grandmother, from Aztec religion to the agony of writing. Anzaldua is a rebellious and willful talent who recognizes that life on the border, "life in the shadows," is vital territory for both literature and civilization. Venting her anger on all oppressors of people who are culturally or sexually different, the author has produced a powerful document that belongs in all collections with emphasis on Hispanic American or feminist issues.

    Liberated from home and hearth by World War I, politically enfranchised and ready to work, women arrived to take their place in the dazzling new skyscrapers of Manhattan. But they did not want to stay in uncomfortable boarding houses. They wanted what men already had—exclusive residential hotels with maid service, workout rooms, and private dining. Built in 1927, at the height of the Roaring Twenties, the Barbizon Hotel was designed as a luxurious safe haven for the “Modern Woman” hoping for a career in the arts. Over time, it became the place to stay for any ambitious young woman hoping for fame and fortune. Sylvia Plath fictionalized her time there in The Bell Jar, and, over the years, it’s almost 700 tiny rooms with matching floral curtains and bedspreads housed, among many others, Titanic survivor Molly Brown; actresses Grace Kelly, Liza Minnelli, Ali MacGraw, Jaclyn Smith; and writers Joan Didion, Gael Greene, Diane Johnson, Meg Wolitzer. Mademoiselle magazine boarded its summer interns there, as did Katharine Gibbs Secretarial School its students and the Ford Modeling Agency its young models. Before the hotel’s residents were household names, they were young women arriving at the Barbizon with a suitcase and a dream. Not everyone who passed through the Barbizon’s doors was destined for success—for some, it was a story of dashed hopes—but until 1981, when men were finally let in, the Barbizon offered its residents a room of their own and a life without family obligations. It gave women a chance to remake themselves however they pleased; it was the hotel that set them free. No place had existed like it before or has since. “Poignant and intriguing” (The New Republic), The Barbizon weaves together a tale that has, until now, never been told. It is both a vivid portrait of the lives of these young women looking for something more and a “brilliant many-layered social history of women’s ambition and a rapidly changing New York through the 20th century” (The Guardian).

    Block analyzes the legal, social, and cultural implications of more than nine hundred documented incidents of sexual coercion and hundreds more extralegal commentaries found in almanacs, newspapers, broadsides, and other print and manuscript sources. Highlighting the gap between reports of coerced sex and incidents that were publicly classified as rape, Block demonstrates that public definitions of rape were based less on what actually happened than on who was involved. She challenges conventional narratives that claim sexual relations between white women and black men became racially charged only in the late nineteenth century. Her analysis extends racial ties to rape back into the colonial period and beyond the boundaries of the southern slave-labor system. Early Americans' treatment of rape, Block argues, both enacted and helped to sustain the social, racial, gender, and political hierarchies of a New World and a new nation.

    Focusing on the years between 1910 and 1940, when Chicago's black population quintupled, Chatelain describes how Chicago's black social scientists, urban reformers, journalists and activists formulated a vulnerable image of urban black girlhood that needed protecting. She argues that the construction and meaning of black girlhood shifted in response to major economic, social, and cultural changes and crises, and that it reflected parents' and community leaders' anxieties about urbanization and its meaning for racial progress. Girls shouldered much of the burden of black aspiration, as adults often scrutinized their choices and behavior, and their well-being symbolized the community's moral health. Black Chicagoans were not alone in thinking about the Great Migration, as girls expressed their views as well. Referencing girls' letters and interviews, Chatelain uses their powerful stories of hope, anticipation and disappointment to highlight their feelings and thoughts, and in so doing, she helps restore the experiences of an understudied population to the Great Migration's complex narrative.

    College was a place where women found self-esteem, and yet images in popular culture reflected a lingering distrust of the educated woman. Thus such lofty cultural expressions as Sex Kittens Go to College (1960) and a raft of naughty pictorials in men’s magazines.As in Pink Think, Lynn Peril combines women’s history and popular culture—peppered with delightful examples of femoribilia from the turn of the twentieth century through the 1970s—in an intelligent and witty study of the college girl, the first woman to take that socially controversial step toward educational equity.

    From an immensely knowledgeable feminist perspective, in engaging, jargonless (!) prose, Bordo analyzes a whole range of issues connected to the body—weight and weight loss, exercise, media images, movies, advertising, anorexia and bulimia, and much more—in a way that makes sense of our current social landscape—finally! This is a great book for anyone who wonders why women's magazines are always describing delicious food as 'sinful' and why there is a cake called Death by Chocolate. Loved it!"—Katha Pollitt, Nation columnist and author of Subject to Debate: Sense and Dissents on Women, Politics, and Culture (2001)